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From Tuscaloosa west to Mississippi then north to Memphis through country as unmusical as I was unloved by the decorous ardor of the South and the voice of one whose griefs were Cherokee, absentee, left in the Chevy and secret. She didn't love my love like Shiva's everywhere and blue and many-handed, some with knives and some with billet-doux.

Features a sequence of fifty-four short sections, each a poem in itself. This book recounts the speaker's memory of excavating the bones of Armenian genocide victims in the Syrian desert with a crew of television journalists.

This moving prose poem tells the story of an aged man who suffers a prolonged and ultimately fatal illness. From initial diagnosis to remission to relapse to death, the experience is narrated by the man's son, a practicing doctor. Charles Bardes, a physician and poet, draws on years of experience with patients and sickness to construct a narrative that links myth, diverse metamorphoses, and the modern mechanics of death. We stand with the doctors, the family, and, above all, a sick man and his disease as their voices are artfully crafted into a new and powerful language of illness.

It has been seventeen years since Lloyd Schwartz has published a book of original poems, so there is much anticipation from his fans. In "Little Kisses," Schwartz takes his characteristic tragi-comic view of life to some unexpected and sometimes disturbing places. Here we find heart-breaking and comic poems about personal loss (the mysterious disappearance of his oldest friend, for example, or his mother s failing memory, or a precious gold ring gone missing); uneasy love poems and poems about family; and poems about identity, travel, and art with all their potentially recuperative powers. The book also contains some memorable translations, jokes, and wordplay, as well as formal surprises, all of which Schwartz s readers have come to relish in his verse. His books have been all too few and far between; this new one after so very long is sure to be greeted by an eager readership."

Connie Voisine's third book of poems, "Calle Florista," centers on the border between the US and Mexico and celebrates the stunning, if severe, desert landscape. Southern New Mexico's proximity to Mexico (indeed, it was "still" a part of Mexico until 167 years ago) is also an occasion for Voisine to explore themes of splitting and friction in both human and political contexts. Through a combination of directness and excision, the poems in this book oscillate between describing complex, private sensibilities, on the one hand, and, on the other, cracking the private self open (and vulnerable) to the wider world. The focus on the Mexico-US border is also a way for Voisine to experiment with the speaking voice in the poems: whose space is this border, she asks, and what voice can properly tell the story of this place?

Includes poems that sift layers of natural and human history across several continents, observing paintings, archaeological digs, cityscapes, seascapes, landscapes. Employing an impressive array of traditional meters and various kinds of free verse, this title celebrates communities both invented and real.

The notion of the disposable camera permeates the entire book, where the author considers the instabilities in even our deepest attachments. Here gulfs expand, for instance, between twins, between the musician and his instrument, between the recluse and his inconsolable solitude.

Ranging among traditional, open, and newly invented forms, and including a series of free translations of medieval dream visions and love poems, this title begins as a historical meditation on our fall and grows into a song of praise for the green and turning world.

Explores what it feels like to live in America, at the beginning of the twenty-first century. Splicing cell-phone chatter with translations of ancient poems, and turning his high-res lens on everything from box stores to trout streams to airport lounges, the author renders both personal and collective experience with capacious and subtle skill.

A sequence of poems voiced by an invented (and inventive) boy-speaker called Romey, set alongside a river in the South Carolina lowcountry.

From the Baltimore Catechism to the great noir films of the last century to today's Elvis impersonators and Paris Hilton, this book tracks the snares, abrasions, and hijinks of personal identities in our society of the spectacle, a place where who we say we are, and who we think we are, fade in and out of consciousness.

This volume brings together James McMichael's poetry and includes works that have previously remained unpublished. James McMichael is the recipient of a Eunice Tietjens Memorial Prize, a Guggenheim fellowship and a Whiting Foundation Writer's Award.

Now, from the sweet fragrance of roses, bitterness stings our nostrils. The bay's withdrawn from us, the beach is littered with broken things - splintered oars, bits of old clay pipe from a long ago shipwreck, fragments of china plates. Enchanting, those days my townspeople scavenged rare cargo, furnishing their long winters with random wares.

Features poems that are haunted by the afterlife of Thom Gunn (1929-2004), one of the most beloved gay literary icons of the twentieth century.

A book about belief - not belief in the unknowable but belief in what seems bewilderingly plain. Pondering the bodies we inhabit, the words we speak, these poems aims to discover infinitude in the most familiar places.

A meditation on the body as a source of joy, anxiety, and regeneration, this collection extends the capacity of the lyric to articulate human feeling while considering the complications of love, both human and divine, and the distinctions between them. It is more deeply an attempt to focus on the process of human creativity in general.

A book of poems that takes us on a journey through wartime America, showing our personal costs and inextricable complicities.

The author has fully realized both the potential for vocal expressiveness in his phrasing and the way his phrasing plays against - and with - his genius for metrical variation, thus becoming an amazingly flexible instrument of psychological and spiritual inquiry and which gives him access to an immense variety of feeling.

A collection of poems that focus on feelings of intimacy and familiarity.

Offers a collection of formal poems and measured free verse unified by its investigation of our poetic, mythic, and scientific fascination with birds of prey: hawks, eagles, owls, vultures, and falcons. Drawing on his own experience working at a raptor rehabilitation center, the author shows these killing birds to be mirrors for humanity.

Avoiding the narrow identity - or group-specific viewpoint of some of his contemporaries, the author invites us to enter the larger humanscape and unearth with him unnoticed connections to our shared past and to one another.